My recent body of work questions ideas of control, vulnerability and expectation with a focus on abstracted portraits. Part of a new era of feminism, my work doesn’t pit itself against masculinity, but rather, intentionally considers the experience of being female in today’s society. My discipline of choice is printmaking and I utilize techniques spanning the genre from traditional etching and silkscreen to experimental lithography, monotype and digital methods. My process is intimately tied to print-media’s ability to combine photographic and hand-drawn elements in compelling ways, blurring realistic details with interpretive figure drawing.

My early training was in theater arts, studying Stanislovski Method acting as well as the Margolis-Brown method of movement theater. It was this physically and emotionally rigorous training that solidified my enchantment with the human condition, what people do and why they do it. I became fascinated by the physical attributes of emotion and how subtle shifts of intention cause dramatically different effects. It was also in this environment that I developed an ethic of experimentation that has translated to my visual arts practice.

As a printmaker I often utilize the multiple to create varied editions, one image or “key” printed slightly different 8-12 times. The result is a series of iterations, similar to the way a thought or conversation plays in my mind over and over again; slightly different, yet slightly the same.